Super Best Audio Friends
The evolution of the original irreverent and irrelevant and non-authoritative site for headphone measurements, i.e. frequency response graphs, CSD waterfall plots, subjective gear reviews. Too objective for subjectivists; too subjective for objectivists
I wanted to showcase this DAC because this is an example of how marketing practices prevailed over engineering. For those who actually thought NWAVGUY was a master engineer, looking to save us all from bad measuring gear by developing the ODAC, there was already one DAC design readily available from his arch-nemesis AMB or Ti Kan with arguably better performance. Those of us who have met Ti Kan know what an outstanding and humble dude he is. If there was any DAC that should have been the ODAC, the AMB Gamma 2 should have been it.
The Vali 2+ is different from the Vali 2 in these respects.
- More present highs - less dark
- More lively, more resolving, more engaging similar to the Vali 1 (in retrospect, Vali 2 was a step and a half forward, but a step back).
- I think the Vali 1 still has a small edge in immediacy, but the Vali 1 also has some issues with the super tube microphonics and highish distortion which is audible, but in a pattern that indicates euphonic distortion.
After a day of warm-up, the DAC2541 is ungodly good. Those who want an oversampling DAC with a modicum of inherent warmth, but no outright warmpoo; an honest, but smooth and not-in-your-face top-end; and microdynamics and PRaT that grabs your very soul by the balls, then this is it. I had some idea of how this DAC may have sounded like given my experience with Soekris' prior generation of DACs, but my expectations have been exceeded.
1100 EUR. Wow, just wow.
Read this for more technical explanation from @Vtory: https://www.superbestaudiofriends.org/index.php?threads/harmon-curve-poll-public.10130/#post-325059
Rockna Wavelight DAC
1kHz sine 0dbFS
Will, Drop's product guy, attempted to explain that there actually was some effort to create a custom headphone with the HE5XX (of course from HFM's parts bin and bag of know-how), but his explanation satisfied no one. Of course not! Once everybody on the Internet has been wronged (whether rightly or wrongly), the pitchforks must come out. In times such as this, steadier minds must prevail.
So let's proceed with various analyses. I don't know the total answer quite yet, I so will be doing this along with you.
A lot of people are going to be happy that HiFiMan has brought these back from the dead. There's been a segment of hobbyists who have been itching to get that of that old school sound (HE-6, HE-5, HE-500). HiFiMan, while initially saying that bringing them back was out of the question, has been steadily releasing remasters of them in the past few years. Customer demand is hard to ignore. Looks like Drop went all in with HFM on the HE5XX, and that's a good thing because all of sudden, its super affordable. The appeal with the OG HFMs was their timbre and slam. The newer HFMs with their thinner membranes and wannabe STAX sensibilities didn't always appeal to the old schoolers. Despite sounding "faster", many models exhibited steely, splashy, or plasticky timbre, lacked slam, or exhibited bouncy-bouncy effect in the lows. Now I wouldn't say that these HFM remasters go totally back in time to the OG sound, but they do straddle the line between the OG and new HFM sound. It's a good compromise in my opinion.
I really won't get too much into how it sounds, other than maybe a few tidbits related on how this came to be. This amp came to be from a project Leviathan that never really took off, or at least took off in another direction. Basically one day, some guy bought some high-end Tango amorphous core interstage and output transformers and asked Craig to build a 2A3 amp out of it. The special thing about this amp was that an interstage transformer was used in lieu of a interstage coupling cap. There was an attempt to build this amp for Changstar folks, but it turned out that Tango went out of business (they are back in business again) and this project went kaput. The Studio amp came to be as a result of using Tribute nano-crystalline core interstages and Cinemag outputs with a tertiary winding (a McIntosh design from long ago).
I can't recall exactly, but I thought maybe the HD558 may have had very slightly angled drivers. Regardless, the HD560S takes the cake and pulls of a really impression of the HD800's headstage. Very impressive! From my limited experience so far, the headstage is closer to the HD800 end of the spectrum than the HD6xx end. Unfortunately, this is where the good news stops. The frequency response takes a hit. The HD558, the predecessor to the HD560S, had small an upper-mid peak. This wasn't particularly obtrusive and made a lot of music sound more energetic. @ultrabike owned the HD558 for years and was perfectly happy with it before finally upgrade to the HD600...
Liquid Gold X (LAuX) has been optimized for balanced operation. It provides great performance Single Ended but clearly best performance is attained in balanced mode. If contemplating this amplifier, balanced headphone cables will prove a wise choice. LAuX falls squarely in the transparent design camp. Attributes of low output impedance, low residual noise, low distortion, high bandwidth, fast transient response definitely contribute to extraordinarily clean performance.
Typical of Cavalli designs bandwidth is quite wide, DC to > 500KHz with 30R load and DC to > 600KHz with 300R load.
Dynamic Range is greater than 113 dB relative to 0 dBu in balanced mode.
Note particularly the exceptionally low IMD for all two tone tests, not just 19+20 KHz which is impressive.
Note too, the fast square wave response transitions times do not ring, also very impressive.